下楼的裸女二号

外部视频链接
外部视频链接
	Duchamp and the Ready-Mades, Smarthistory

下楼的裸女二号
下楼的裸女二号
法语：Nu descendant un escalier n° 2
艺术家	杜象
年份	1912
类型	布面油画
尺寸	147 cm × 89.2 cm（57+7⁄8 in × 35+1⁄8 in）
收藏地	费城费城艺术博物馆

《下楼的裸女二号》（法语：Nu descendant un escalier n° 2）是1912年法国艺术家杜尚绘制的一幅油画，是现代绘画的代表作之一。它曾被立体派画家批评为太过像未来派作品，但实际上1912年独立者沙龙的展品目录中却被划分为立体派作品^[1]，并且在1913年纽约军械库展览会中成为焦点。现此作藏于费城艺术博物馆。^[2]

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创作历史

这幅作品混合了立体派和未来派的风格。杜尚在此把多个女子下楼的动作混合在了一起，这可能是受到了艾蒂安-朱尔·马雷和埃德沃德·迈布里奇的摄影作品影响。实际上这幅画就和埃德沃德·迈布里奇1887年拍摄的《下楼的女人》十分相似。^[3]

1912年5月16日，杜尚向第28届独立者沙龙提交了这幅作品。在沙龙展品目录中编号1001，名称为Nu descendant l'escalier，而不是现在的Nu descendant un escalier n° 2。不过虽然列在了目录中，这幅画并没有实际参展。^[4]^[4] 杜尚的哥哥雅克·维庸和雷蒙·杜尚-维庸受到策展人的委托，曾试图打消杜尚用此作参展的念头。策展人认为如果杜尚坚持展出的话，那也要改掉作品的标题才行。根据杜尚自己的说法，这是因为包括阿尔伯特·格列兹在内的一些立体派画家认为这幅画不符合他们的理念，^[5]^[6] 而策展方则说他“就不该画一个下楼的裸体人物，这实在可笑...裸体应该受到尊重”。^[5]^[7]^[8]

究其原因，还是因为当时法国立体派艺术家对外来艺术风格有抵触情绪，而杜尚的作品风格非常贴近当代意大利未来派。但杜尚并不承认他受到了意大利未来派的影响，按他所说，巴黎和罗马相距如此遥远，在巴黎的他根本就不可能受到这种影响。^[9]^[10]

在一次采访中，杜尚与策展人凯瑟琳（Katherine Kuh）谈到《下楼的裸女二号》时说：“实际上我是看了击剑者和奔马的连续照片之后才想到了《裸体》的点子。我不是说我抄袭了这些相片。未来派也有类似的想法，但我从来都不是未来派画家。”^[11]^[12] 杜尚后来又说：“我的目的是用静态来表示运动，即绘制运动中的连续静态动作——完全没想过电影效果什么的。我觉得我将运动中的头部转换成纯粹的线条这一点足以可谓自己辩护。”^[13]^[14] 作为对独立者沙龙的回应，杜尚说：“我什么都没对哥哥们说。但我立刻就搭了计程车去向展方要回我的画作。我确信那是我人生的一个转折点。我感觉自己再也不会对团体活动产生兴趣了。”^[15]

虽然如此，这幅画实际上还是得以在1912年10月的黄金分割沙龙（Salon de la Section d'Or）中以原标题参展。此外，它还出现在了《Du "Cubisme"》一书及1912年秋季沙龙的展出“立体之家”（La Maison Cubiste）中。历史学家彼得·布鲁克（Peter Brooke）说：“就是因想呆在这些艺术家群体中他（杜尚）才撤回了作品。不像他自己说的那样，他当时的地位其实相当优越”。^[16]

杜尚后来又将此作提交给1913年美国纽约军械库展览会的评委，标题为“Nu descendant un escalier”^[17]^[18]，同时印刷的明信片上显示的英文名字为“Nude Descending a Staircase”^[19]。此作在美国也备受嘲讽，1913年一年就有多出滑稽剧上映^[20]。《美国艺术新闻》多次悬赏以期读者能找出画中所谓的裸体^[21]。

在看过军械库展览会之后，美国总统西奥多·罗斯福说：“就拿那个叫做什么‘裸体下楼’的画来说吧，我卧室里其实有一个纳瓦霍艺术毯子，它按立体派的理论来说其实比这画好多了。按照这些人莫名其妙的逻辑，这毯子就该叫‘正装上楼’...这俩个名字可谓不分伯仲，从装饰艺术的角度来讲，这毯子实际还比那幅画有用多了”。^[22]^[23]

在军械库展览会展出时此画被旧金山的律师兼艺术商弗雷德里克·托利（Frederic C. Torrey）买下，挂在伯克利的家中。1919年在找人画了一幅原大的复制品后，托利将原作卖给了美国艺术品收藏家沃尔特·康拉德·阿伦斯伯格（Walter Conrad Arensberg）及其妻路易丝（Louise）^[24]。1954年此画按二人遗愿捐给费城美术馆，此后直到今日就是一直该馆的藏品。^[25]

参考文献

[1]
Roger Allard, Sur quelques peintre, Les Marches du Sud-Ouest, June 1911, pp. 57-64. In Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906-1914, The University of Chicago Press, 2008
[2]
The Philadelphia Museum of Art. [2016-01-27]. （原始内容存档于2019-11-03）.
[3]
Tomkins 1996，第78页
[4]
Hommage à Marcel Duchamp, Boîte-en-catalogue, 1912–2012, Salon des Indépendants, 1912, n. 1001 of the catalogue, Marcel Duchamp, Nu descendant l’escalier. [2016-03-16]. （原始内容存档于2020-11-04）.
[5]
Cabanne, Pierre, Ingénieur de temps perdu: entretiens [de Marcel Duchamp] avec Pierre Cabanne, Pierre Balfond, 1967
[6]
Cabanne, Pierre, Dialogues with Marcel Duchamp, Da Capo Press, Aug 21, 1987. [2016-03-16]. （原始内容存档于2017-09-21）.
[7]
Dalia Judovitz, Déplier Duchamp : passages de l'art, Presses Univ. Septentrion, Jan 1, 2000, p. 29. [2020-12-11]. （原始内容存档于2020-11-15）.
[8]
Gunnar, Olsson. Abysmal: A Critique of Cartographic Reason. University of Chicago. 2007: 155 [2 December 2010]. ISBN 0-226-62930-9.
[9]
Kieran Lyons, Military Avoidance: Marcel Duchamp and the Jura-Paris Road, TATE Papers, Tate's online research journal. In Pierre Cabanne, Dialogues with Marcel Duchamp, London 1971, p.28.. [2016-03-16]. （原始内容存档于2015-09-24）.
[10]
Béatrice Joyeux-Prunel, Histoire & Mesure, no. XXII -1 (2007), Guerre et statistiques, L'art de la mesure, Le Salon d'Automne (1903–1914), l'avant-garde, ses étranger et la nation française (The Art of Measure: The Salon d'Automne Exhibition (1903–1914), the Avant-Garde, its Foreigners and the French Nation), electronic distribution Caim for Éditions de l'EHESS (in French). [2016-03-16]. （原始内容存档于2020-03-14）.
[11]
Katherine Kuh, Marcel Duchamp, interview broadcast on the BBC program 'Monitor', 29 March 1961, published in Katherine Kuh (ed.), The Artist's Voice. Talks with Seventeen , Harper & Row, New York 1962, pp. 81-93. [2016-03-19]. （原始内容存档于2016-03-31）.
[12]
Stephen Kern, The Culture of Time and Space, 1880–1918: With a New Preface, Harvard University Press, Nov 30, 2003. [2016-03-19]. （原始内容存档于2020-11-15）.
[13]
Peter Brooker, Andrew Thacke, Geographies Of Modernism: Literatures, Cultures, Spaces, Taylor & Francis US, 2005. [2016-03-19]. （原始内容存档于2020-11-07）.
[14]
Note: After the 1912 Salon d’Automne, the Cubists came under attack from Nationalist politicians in the French National Assembly. Albert Gleizes mounted a defence in terms of their straightforward patriotism. Further reading on the controversy: Kenneth Silver, Esprit de Corps, Princeton 1989; David Cottington, Cubism in the Shadow of War: the Avant-Garde and Politics in Paris 1905–1914, New Haven 1998; Peter Brooke, Albert Gleizes: For and Against the Twentieth Century, Yale University Press, New Haven, 2001
[15]
Tomkins 1996，第83页
[16]
Peter Brooke, The 'rejection' of Nude Descending a Staircase. [2020-09-27]. （原始内容存档于2016-05-04）.
[17]
Armory show entry form for Marcel Duchamp's painting Nude descending a staircase, not after 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.. [2017-12-18]. （原始内容存档于2014-10-20）.
[18]
Catalogue of International Exhibition of Modern Art, Exhibition held at the Armory of the 69th Infantry, New York, from Feb. 15 to March 15, 1913
[19]
Armory Show postcard with reproduction of Marcel Duchamp's painting Nude Descending a Staircase, 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.. [2017-12-18]. （原始内容存档于2014-10-20）.
[20]
Tomkins 1996，第116–142页
[21]
American Studies at the University of Virginia, The Armory Show, Gallery I, French Paintings and Sculpture. [2017-12-18]. （原始内容存档于2019-10-23）.
[22]
Mr. Roosevelt on the Cubists, The Literary Digest, April 5, 1913, p. 772 （页面存档备份，存于互联网档案馆），quote: Take the picture which for some reason is called 'A Naked Man Going Down Stairs'. There is in my bathroom a really good Navajo rug which, on any proper interpretation of the Cubist theory, is a far more satisfactory and decorative picture. Now, if, for some inscrutable reason, it suited somebody to call this rug a picture of, say, 'A Well-Dressed Man Going Up a Ladder', the name would fit the facts just about as well as in the case of the Cubist picture of the 'Naked Man Going Down Stairs'. From the standpoint of terminology each name would have whatever merit inheres in a rather cheap straining after effect; and from the standpoint of decorative value, of sincerity, and of artistic merit, the Navajo rug is infinitely ahead of the picture.
[23]
Roosevelt 1913
[24]
John Sheridan. A visit to the Torrey House, Berkeley, California. 2002 [20 April 2009]. （原始内容存档于2020-11-04）.
[25]
Nude Descending a Staircase (No. 2). Philadelphia Museum of Art. [28 February 2009]. （原始内容存档于2019-11-03）.

Tomkins, Calvin. Duchamp: A Biography. U.S.: Henry Holt and Company, Inc. 1996. ISBN 0-8050-5789-7.
Roosevelt, Theodoore. History as literature, by Theodore Roosevelt.. U.S.: New York: Charles Scribner’s sons. 1913 [2016-01-27]. ISBN 1-58734-046-1. （原始内容存档于2020-11-08）.

外部链接

Quick Facts 外部视频链接 ...

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Nude Descending a Staircase, No. 2（页面存档备份，存于互联网档案馆） at the Philadelphia Museum of Art
Multiple exposure photograph of Duchamp walking down a flight of stairs reminiscent of his painting（页面存档备份，存于互联网档案馆）, Eliot Elisofon, Life magazine, 1952
Video Interview with Francis M. Naumann Fine Art on Nude Descending A Staircase（页面存档备份，存于互联网档案馆） at The Armory's Centennial Edition.

[Allard-1] [1]
Roger Allard, Sur quelques peintre, Les Marches du Sud-Ouest, June 1911, pp. 57-64. In Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906-1914, The University of Chicago Press, 2008

[philamuseum-2] [2]
The Philadelphia Museum of Art. [2016-01-27]. （原始内容存档于2019-11-03）.

[3] [3]
Tomkins 1996，第78页

[Indépendants_catalogue-4] [4]
Hommage à Marcel Duchamp, Boîte-en-catalogue, 1912–2012, Salon des Indépendants, 1912, n. 1001 of the catalogue, Marcel Duchamp, Nu descendant l’escalier. [2016-03-16]. （原始内容存档于2020-11-04）.

[Cabanne-5] [5]
Cabanne, Pierre, Ingénieur de temps perdu: entretiens [de Marcel Duchamp] avec Pierre Cabanne, Pierre Balfond, 1967

[6] [6]
Cabanne, Pierre, Dialogues with Marcel Duchamp, Da Capo Press, Aug 21, 1987. [2016-03-16]. （原始内容存档于2017-09-21）.

[7] [7]
Dalia Judovitz, Déplier Duchamp : passages de l'art, Presses Univ. Septentrion, Jan 1, 2000, p. 29. [2020-12-11]. （原始内容存档于2020-11-15）.

[8] [8]
Gunnar, Olsson. Abysmal: A Critique of Cartographic Reason. University of Chicago. 2007: 155 [2 December 2010]. ISBN 0-226-62930-9.

[9] [9]
Kieran Lyons, Military Avoidance: Marcel Duchamp and the Jura-Paris Road, TATE Papers, Tate's online research journal. In Pierre Cabanne, Dialogues with Marcel Duchamp, London 1971, p.28.. [2016-03-16]. （原始内容存档于2015-09-24）.

[10] [10]
Béatrice Joyeux-Prunel, Histoire & Mesure, no. XXII -1 (2007), Guerre et statistiques, L'art de la mesure, Le Salon d'Automne (1903–1914), l'avant-garde, ses étranger et la nation française (The Art of Measure: The Salon d'Automne Exhibition (1903–1914), the Avant-Garde, its Foreigners and the French Nation), electronic distribution Caim for Éditions de l'EHESS (in French). [2016-03-16]. （原始内容存档于2020-03-14）.

[11] [11]
Katherine Kuh, Marcel Duchamp, interview broadcast on the BBC program 'Monitor', 29 March 1961, published in Katherine Kuh (ed.), The Artist's Voice. Talks with Seventeen , Harper & Row, New York 1962, pp. 81-93. [2016-03-19]. （原始内容存档于2016-03-31）.

[12] [12]
Stephen Kern, The Culture of Time and Space, 1880–1918: With a New Preface, Harvard University Press, Nov 30, 2003. [2016-03-19]. （原始内容存档于2020-11-15）.

[13] [13]
Peter Brooker, Andrew Thacke, Geographies Of Modernism: Literatures, Cultures, Spaces, Taylor & Francis US, 2005. [2016-03-19]. （原始内容存档于2020-11-07）.

[14] [14]
Note: After the 1912 Salon d’Automne, the Cubists came under attack from Nationalist politicians in the French National Assembly. Albert Gleizes mounted a defence in terms of their straightforward patriotism. Further reading on the controversy: Kenneth Silver, Esprit de Corps, Princeton 1989; David Cottington, Cubism in the Shadow of War: the Avant-Garde and Politics in Paris 1905–1914, New Haven 1998; Peter Brooke, Albert Gleizes: For and Against the Twentieth Century, Yale University Press, New Haven, 2001

[15] [15]
Tomkins 1996，第83页

[Peter_Brooke-16] [16]
Peter Brooke, The 'rejection' of Nude Descending a Staircase. [2020-09-27]. （原始内容存档于2016-05-04）.

[17] [17]
Armory show entry form for Marcel Duchamp's painting Nude descending a staircase, not after 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.. [2017-12-18]. （原始内容存档于2014-10-20）.

[18] [18]
Catalogue of International Exhibition of Modern Art, Exhibition held at the Armory of the 69th Infantry, New York, from Feb. 15 to March 15, 1913

[19] [19]
Armory Show postcard with reproduction of Marcel Duchamp's painting Nude Descending a Staircase, 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.. [2017-12-18]. （原始内容存档于2014-10-20）.

[20] [20]
Tomkins 1996，第116–142页

[21] [21]
American Studies at the University of Virginia, The Armory Show, Gallery I, French Paintings and Sculpture. [2017-12-18]. （原始内容存档于2019-10-23）.

[22] [22]
Mr. Roosevelt on the Cubists, The Literary Digest, April 5, 1913, p. 772 （页面存档备份，存于互联网档案馆），quote: Take the picture which for some reason is called 'A Naked Man Going Down Stairs'. There is in my bathroom a really good Navajo rug which, on any proper interpretation of the Cubist theory, is a far more satisfactory and decorative picture. Now, if, for some inscrutable reason, it suited somebody to call this rug a picture of, say, 'A Well-Dressed Man Going Up a Ladder', the name would fit the facts just about as well as in the case of the Cubist picture of the 'Naked Man Going Down Stairs'. From the standpoint of terminology each name would have whatever merit inheres in a rather cheap straining after effect; and from the standpoint of decorative value, of sincerity, and of artistic merit, the Navajo rug is infinitely ahead of the picture.

[23] [23]
Roosevelt 1913

[JS-24] [24]
John Sheridan. A visit to the Torrey House, Berkeley, California. 2002 [20 April 2009]. （原始内容存档于2020-11-04）.

[25] [25]
Nude Descending a Staircase (No. 2). Philadelphia Museum of Art. [28 February 2009]. （原始内容存档于2019-11-03）.

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